sah edit 895 eportfolio in games curriculum 102912

Running Head: ePortfolio-based Games Curriculum

Getting a Head Start: Using ePortfolio to Enhance Game Design Curricula

Seth A. Hudson

George Mason University

EDIT 895: Emerging Issues in Instructional Technology

Dr. Kevin Clark

October 26th, 2011

Getting a Head Start

Abstract

This paper asserts that college-level computer game design programs should

adopt electronic portfolios to enhance deep learning in the curriculum, professional

development of students, and programmatic assessment. Coupling concepts from

portfolio design in the liberal arts with current trends in the game industry, the paper

identifies clear connections between a traditional learner portfolio and the electronic web-

based portfolio now prevalent in the games industry. Challenges regarding the

implementation of this system will also be discussed along with solutions. A strong

recommendation is made that new game design programs adopt these practices in a way

that aligns with industry standards and academic practice, improving instruction,

professional development, assessment, and recruiting.

Keywords: ePortfolio, digital learner portfolio, game design, professional

development, assessment, curriculum, game design industry

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Introduction

Game Design as a discipline in higher education is still emerging. Pulled between

an industry-centered focus and one that honors the spirit of liberal arts education,

programs still search for their footing. Additionally, the climate of scrutiny surrounding

assessment and accreditation, specifically the call for value-added employment numbers,

calls for a novel way to help students break into this difficult to access industry. Best

practices are yet to be adopted by some young programs, while the more established are

still open to change given the dynamics of the field. As there are few models to borrow

from, programs must look elsewhere for inspiration in devising tools for evaluation and

assessment that suit the needs of students and faculty in regards to learning and

professional development. Borrowing from the traditional liberal arts learner portfolio

and current industry standards is the way forward. Combined, the thinking behind the

portfolio process in each discipline can aid a game design curriculum by promoting deep

learning and solid assessment practices while giving students a head start in professional

development. Looking at instruction, recruitment, assessment, and the relevance of these

concepts to the industry and university, the following will discuss and evaluate

implementing an ePortfolio-based curriculum.

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Industry Standards

Industry relies on portfolio already. Stated bluntly, a “personal website is the best

way to organize and present your work” when seeking employment in the game design

industry (Moore & Novak, 2012, p. 131). Unfortunately for students, though, no clear

guidelines for content and/or format currently exist (Hoekstra, 2003). This problem is

compounded by the fact that currently the industry does not value a bachelor’s degree in

game design (Dille & Zuur Platten, 2007). There is space to develop a uniquely useful

ePortfolio format that establishes credibility of a new degree program for those in the

game industry, those at the university, and students who may be considering a particular

school. Beyond the quality of instruction and resources available, game design programs

must show the relevance of a liberal arts education to the game design studio

environment.

The roles in game development vary greatly. Perhaps obviously, applicants must

find a way to present their strengths in the discipline related to the position, i.e.

animation, audio design, programming, etc. Young (2002) describes student perceptions

of the portfolio process and how they relate to the job market. Many of the students see

the potential of a multimedia presentation of their skills in interviews and the job search

process. Early on in ePortfolios, students found great advantage as using one set them

apart from other applicants, but as the ePortfolio is fairly standard in the game industry,

this benefit is less pronounced. Centering a game design curriculum around the portfolio,

however, increases the student site’s effectiveness.

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A program geared towards professional development can incorporate the

ePortfolio rather seamlessly into the current required courses. After all, many projects

are digital already, and ePortfolios are the most efficient way to communicate these assets

and skills to employers (Nikirk, 2008). Requiring students to submit assignments via

their personal site forces students to keep track of their work for when the time comes to

apply for jobs. Instructors then have the opportunity to view the student’s progress in

other courses so they can get a sense of the individual and perhaps enhance instruction—

this can also improve student-teacher relationships and mentoring.

Borrowing from the reflective practice of the traditional learner portfolio, students

will also begin to construct a context around their work and revisit it accordingly. This

benefits instruction as it promotes further revision beyond the 15-week semester.

Students begin to see their studies as a longer process of growth rather than a linear

progression of grades and course credits. Ideally, this way of thinking will translate to

game design students’ other coursework, professional activities, and life experiences.

Hoekstra (2003) follows the general thinking that the portfolio is “worth” more than the

degree in the game industry. It would make sense, then, to have the ePortfolio highlight

the entire depth and breadth of the undergraduate course of study to show how the other

coursework in the humanities, arts, and sciences have enriched the student/applicant—at

least, students can hope the sum total of these experiences can break a tie with an equally

qualified candidate with no degree

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Faculty/Student Buy-In

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This paper makes an assumption: when the technical skills sought are equal

among candidates, those who incorporate a demonstration of their critical thinking and

general creativity gain an advantage. Currently, game design degrees aren’t given much

value in the industry, but they are gaining esteem gradually (Dille & Zuur Platten, 2007).

Over time those who hold these degrees may prove their value through excellent work,

but finding a way to communicate the relevance of the entire four years worth of study

will enhance a student’s prospects immediately. Courses in western civilization,

literature, psychology, physics, etc. can all inform game design. Incorporating those

elements from the general education curriculum into the ePortfolio can set students apart,

so the buy-in comes not only from potential for job prospects, but for contextualizing the

entire degree.

Education purists hold that the sole point of the portfolio/ePortfolio is to

encourage deeper learning through reflection; this exercise is for personal development

and not for the job market (Lopez-Fernandez & Rodriguez-Illera, 2009). The game

design ePortfolio must be specifically augmented in a way that is industry-friendly, rather

than industry-focused. In other words, industry relevance does not necessarily prevent

personal growth. In fact, incorporating industry conventions and standards into the

reflective practice allows one to identify employment that recognizes their individuality

and better utilizes his or her strengths.

Indeed, some that recruit for major studios may not immediately see the relevance

of such additions just as some employers look only for the skillset necessary to fulfill

tasks (Young, 2002). It would be sound advice for students to keep a separate

“professional only” site for these occasions, including only the standard demos that are

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usually presented (Mencher & Crosby, 2003). Asking undergraduates—making it into an

industry where standard conventions are only just coming to bear is no easy task—to

make the extra effort toward a learner portfolio project with no immediate benefit might

be difficult. Those who mentor and advise students must quickly do away with the

notion that jobs are guaranteed upon graduation, so many students aim to keep laser-

focused only on what will lead to employment.

Students are already busy with work and school, so a novel approach like this can

feel like busy work. The ePortfolio is not meant to be a souped-up resume, however,

instead it is a tool for students to connect their own experiences and find the value in

them (Young, 2002). The end result will be more confident, well-rounded young

professionals entering the job market and representing the young game design program.

Contrary to student assumptions, many studios are looking for higher order skills

that are hard to display on a resume or even with a portfolio consisting only of work

examples (Swacha et al, 2010). Students in game design programs at liberal arts

institutions should capitalize on all of the coursework in the four years and a reflective

ePortfolio can do just that (Young, 2002). This can set them apart from those with no

post-secondary education or students at two-year colleges more focused on art or

programming specifically. The Swacha study highlights the discrepancy between

student views of necessary game development skills and what industry producers view as

valuable. Designers in the industry are looking for creativity and communication more

than technical skill, with the thinking that the former are far more difficult to identify or

teach (Swacha et al, 2010). The students polled thought the exact opposite to be true, so

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this can manifest itself in students not even attempting to display these unique skills,

thinking them irrelevant.

Faculty participation is paramount also. In addition, expecting faculty to adopt

this new format and accept some responsibility for issues that might arise with the

software would require buy in. Faculty who come from the industry would see how this

setup allows for their unique perspective to become part of the assessment process.

Coupling this fact with the advantage for students would make a strong case for the

hybrid ePortfolio—not to mention the idea of bringing credibility to a new field—with

faculty. If this is note the case, demonstration of how the portfolio might streamline

grading and assessment should seal the deal.

The IGDA guidelines call for things ranging from the cross-cultural anthropology

of play to “writing for the radio.” While acknowledging that not all of these objectives

can be met, this guide presents a challenge to schools wishing to teach a generalized

game design curriculum. In previous studies on teaching game design, no one has

provided a valid answer to the quest of scope and priorities for content, leaving programs

to fend for themselves. Educators have a different take on the IGDA guidelines however,

as they can be distilled into a series of student learning outcomes. Rather than learn

puppetry and “game analysis,” a new program can try and find an efficient way to meet

the goals of the IGDA guidelines through a series of higher order skills (some call these

soft skills) like critical thinking and creativity.

The role of new game design faculty will be discussed further when assessment is

addressed, but their industry experience will be a major factor is establishing best

practices for college-level game design. Bridging the gap between specific technical

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skills and intangibles should involve industry insiders. This will enhance the quality of

instruction and also students’ employability. Faculty represent the industry in this

process, so their experience is valuable outside of the classroom in ways they may not

have expected.

Interconnectedness of Industry

Although studios have very specific roles for individuals to play, required given

the immense scope of their undertakings, it is true that some within the “shop” can find

themselves in different duties. Some roles that require less technical skill, like writing,

often can go to the person drawing the shortest straw (Dille & Zuur Platten, 2007).

Writing is an interesting example as narrative content becomes more important in game

design, but it is an example of why a learner portfolio can aid game design job applicants.

If a skilled programmer/animator/designer can efficiently show promise in other areas, it

stands to reason that they would be more attractive to those doing the hiring. Just as

advances in art and game play mechanics have driven competition in the past, story

content informed by liberal arts and other disciplines are needed if the industry wants to

go head-to-head with the entertainment “big boys” (Pratchett, 2007). Again, someone

possessing skills, knowledge, even just a different frame of reference can add depth to the

design team.

Efficiency is the key, though, as many in studios look at ePortfolios for less than a

minute (Flack, 2011). It can be that the studio is looking for something very specific that

is apparent with a quick review, but even careful presentation of standard elements can

play a help one stand out. Writing skills are used throughout the whole process of design,

and the problem solving involved is the true key (Saltzman, 2004). A student who learns

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to articulate their own process can translate this later on to studios. A traditional learner

portfolio asks students to reflect on their work and make connections between

experiences in different classes. If a game design curriculum is meant to be

comprehensive—to the extent possible—then constructing meaning out of the disparate

course content gives the student a greater experience.

This translates to the industry directly, as the studio design process means

hundred of skilled individuals working on the same project in different capacities.

Although one’s role may be specific, the ability to contextualize that work in the larger

scope of things is invaluable. The idea of being able to communicate intelligently with

everyone involved in the process is a noble goal, so finding a way to present this to

employers is important.

Displaying the value of liberal arts education helps a student build a stronger

sense of his or her skills while allowing that non-major coursework to enhance game

design projects. Helping faculty find value is the first step, which should naturally lead

to students embracing the concept. The ePortfolio facilitates this change inside the

university and hopefully begins to give weight to the liberal arts part of the curriculum to

students’ job prospects. There are other uses for ePortfolios inside the university, though,

that can get help establish a young program in the game design industry in the university

community and the academy at large.

Assessment

The use of ePortfolios is also a valuable tool for assessment within the university.

In a complex curriculum like game design, with many disparate fields, communicating

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student achievement in a meaningful/portable way is paramount. Program review

practices are simple, calling simply for educators to clarify goals, collect data, and then

compare results to preset data (Black & Klein, 2002).

Using ePortfolios as a tool for a assessment at the university level can be a

daunting concept to faculty. There is a real—justified to an extent—apprehension that

assessment will be used against faculty (Driscoll & Wood, 2007). Seeking buy in from

faculty must happen quickly, as assessment also seems very tedious and perhaps the least

glamorous side of the profession—perhaps a close tie with grading. Relating student

learning outcomes to industry needs may achieve this buy in. After all, a school’s

standard regional accrediting body probably does not have existing criteria for assessing

game design, so faculty expertise can blaze a new trail. Traditional methods of

assessment, paper-based specifically, cannot really capture all of the skills game design

students possess. An ePortfolio-based curriculum can display those skills while

borrowing from practices in the industry, making new instructors’ professional

experience more relevant to the academy. The end result will mean buy in from faculty

as they can mold the curriculum in ways relevant to the industry.

Even with disciplines and schools based more on technical skills, ePortolios that

incorporate other non-tangible skills have found success. Rose-Hulman introduced their

RosE Portfolio system in response to accreditation standards with great success (Basken,

2008). The results of assessment with RosE meant that instructors and administrators

could constantly revise course content to fit the needs of the school. Another, perhaps

unexpected result was university-wide. Before RoseE, the university’s individual units

pursued individual missions, but after the switch to ePortfolio the programs could all seek

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a unified vision. Adding elements like leadership and ethics to basic subjects in

engineering and physics enhanced the student experience and gave them an advantage,

albeit a small one, over their competition. The nuance allowed by a reflective portfolio is

conducive to this kind of assessment, so just as students applying game design jobs have

a chance to show their creativity and communication skills, academic units can monitor

and promote those skills throughout the entire four years.

This is where the industry-focused game design curricula can intersect with

university general education goals. Higher order skills are not exclusive to any one

discipline even though they may be hard to display for such a non-traditional field like

game design. Using a learner portfolio, still geared toward industry, can display that

game design program is indeed fulfilling the university’s mission in regards to outcomes.

It is widely accepted that programmatic assessment for professionally-focused fields use

web portfolios (Palomba, 2002), so the faculty can set up assessment efforts in a way that

is industry relevant while at the same time proving educational relevance to the

uninitiated. Without the ePortfolio, though, these benefits are wasted.

Instructors can set forth the standards to students in a web portfolio to aid in

instruction aided by the easy access for the parties involved. Faculty can use the insight

provided by ePortfolio assessment to make “fairly swift changes in curricula and teaching

methods” (Suskie, 2009, p. 99). Organizations like the IGDA prescribe such rigors for

potential programs, that meeting them can be unrealistic. With a real-time assessment

tool present, a new program can make changes on the fly to better serve the students.

This can also lead to faculty development for those not steeped in academia.

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Game Design Instruction

Even one of the industry’s best, probably with great teaching skills, may still

struggle as a university professor—not due to a lack of expertise, but rather the limits of

150 minutes a week for a mere 15 weeks. Programs should rely heavily on industry

expertise, but careful assessment can help those new to education better understand how

to create a curriculum. Acknowledging that the university classroom/studio may not be

the ideal place to create a designer, instructors from the industry must adapt.

Hoekstra (2003) points out that an individual website is the best way into the

game industry. A little dated now, Hoekstra’s advice still rings true, but with the secret

out almost everyone in the job market for game design has an ePortfolio. Instructors

need to embrace this fact and pass it along to students. This can be as simple as only

accepting assignments via the portfolio, or just making the review of the sites a small but

important part of each course. This helps in a practical sense, as students are aware of the

need for a web portfolio and have a head start in its creation, but also by promoting the

contextualizing that the process demands. And although ambitious, this process might

also lead to students revisiting work after the semester.

Creating this context also gives each instructor and potential employer a chance to

know the student in total (Young, 2002). This aids in instruction particularly, as students

with some freedom in design can be given guidance specific to their own aesthetic. Just

as the brief look at portfolios can mean quick dispatch of an applicants hope, one who has

a specific style and type of content can land the lob with that brief look (Hoekstra, 2003).

This is not to say that students must laser focus on something specific, but that teaching

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with the ePortfolio allows for instructors to see strengths across courses—the reflective

traditional portfolio piece should do the same for the student.

As many game educators come from industry, though, they may see reflection as

a result course content/lecture/text consumption and means of assessment rather than a

valuable tool in and of itself. The a perception that until students have been steeped in

design concepts and practical instruction, they lack the ability to make a worthy

contribution and may instead run rampant with their uninformed views and opinions,

hurting the instructor’s effectiveness in filling the tabula rasea of budding designers.

Implementing the ePortfolio system at the outset of study, however, situates the student

in the field of study and professional. This allows them to start forming the connections

and think deeply about design before they have the ability to create a simply demo,

character model, etc.

Recruitment

As discussed previously all aspects of the development process relay on written

and oral communication to an extent, but some of the most vital aspects of game design

education rely on skills developed outside of the core curriculum. As game design

programs grow in number, students need to make distinctions concerning the quality of

programs. Much of this is based on job stats and faculty profile, but looking at curricular

differences is telling. Basken (2008) presents ePortfolios as an answer to data for

accreditation, but they could just as easily apply to recruiting students to the school itself.

Parents might wonder what a student will learn studying game design, and the valuable

skills acquired need to be exposed to dispel the myth that game design students just play

Halo all day.

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Beyond job placement data, some tips when looking at game design schools

include checking industry sites for student writing to gauge the quality and complexity;

they also warn of courses that simply teach industry tools, favoring those that focus on

design concepts instead (Penny Arcade, 2012). The analysis and critical thinking

required in this pursuit needs students to have the skills provided by the liberal arts

curriculum and displayed in various ways. In other words, a game design curriculum

should not be vocational. Instead, it should give students a chance to develop the means

to create with the tools of the industry, not just reproduce.

The “IGDA Curriculum Outline” (2008) echoes this sentiment, placing a great

deal of emphasis on critical game studies. They cite the need for an interdisciplinary

approach that borrows from other liberal arts disciplines like literature and history.

Echoing the study by Swacha et al (2009), it appears that demonstrating this ability

makes students more marketable when attempting to enter the industry. This is where the

classic learner portfolio used in the liberal arts intersects with the industry.

A brief note before proceeding: When students were asked if they would like to

study game design in some capacity, 97% of those surveyed answered affirmatively

(Swacha et al, 2009). Those last 3% were indifferent.

When asked about the forms of classes most beneficial to game design, the

responses of students were telling in that they thought that a laboratory setting for game

implementation (development) was the most important part of getting into the game

industry. Of the industry producers polled, however, roughly 80% valued theory, case

study, and collaborative design over actual game implementation (Swacha et al, 2009).

These skills are available to students across the curriculum. We have discussed how buy

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in from faculty can make these liberal arts courses relevant to students, but conveying

that to the general public will show value to parents and excite students in regards to their

entire 4-year experience

Conclusion

Game design is a new discipline in higher education; it is still establishing best

practices. Students want a curriculum that prepares them for the industry, but there is no

formula to land a triple-A studio job. The industry wants higher order skills, but does not

have an efficient way to find them in applicants. A young game design program, then,

can bridge these two expectations while observing the necessary components of

assessment and instruction mandated by the university. The ePortfolio is the most

practical tool to meet these needs, but incorporating ideas from the traditional learner

portfolio—a focus on collected experiences in and out of the classroom, creating context

—deepens the students learning during their four years and employability upon

graduation.

The concept of the learner portfolio is decades old at this point, and digital

portfolios have been around for years, but game design needs to utilize the affordances of

both to better educate students while establishing best practices for the individual

program and the discipline at large.

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Literature Review

In forming this position, resources from both the game design industry and

education were sought. One interesting observation is the space to join the two. There is

a great deal of literature regarding assessment with portfolios and even their importance

for digital careers, but as of yet nothing relates these concepts to game design.One chief

resource for those not acquainted with game design education was provided by the

International Game Developers Association (IGDA). The association’s Game Education

Special Interest Group (2008) produced the IGDA Curriculum Framework: The Study of

Game sand Game Development (v 3.2 beta) for educators and students alike. Noting the

growing popularity of the field and the need for scholarship and study of industry

practices, the document points out that progress in games education “will only come

about when academia and industry work together” (p. 1). Ambitious, the document lays

out 30 pages of key topics that should be covered by a program in computer game design.

The document, then, is less of a practical guide for programs to follow and more of a

wish list created by the industry. Many of the recommendations echo those common in

student learning outcomes used in general education.

Palomba (2002) discusses several methods for scholarly assessment of student

learning outcomes in her chapter, “Scholarly Assessment of Student Learning in the

Major and General Education.” She outlines capstone assessment—the popular model in

game design education at the moment—as an opportunity for students to present the

artifacts produced to “faculty, outside specialists [read potential employers], the

university community, or the general public, often defending or explaining what was

done” (Palomba, p. 207). The author also holds “particularly professionally-oriented

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subjects” will find greater use in ePortfolios for assessment and instruction. Palomba

warns, however, that “implementing successful portfolios is a difficult challenge, and

some campuses have already experimented with and abandoned this approach to

assessment” (p. 210).

Martin Nikirk (2008) sings the praises of digital portfolios for students in

interactive media fields in his article “Digital Portfolios,” from Tech Directions, saying

that “students can demonstrate their skills at working with software tools, demonstrate

proper use of materials, explain technical procedures, show and understanding of

processes and systems, and present samples of original production work” (p. 13). His

portfolio plan espouses the importance of audio design, teamwork activities, and the

writing skills the program hopes to deliver to students. Boldly, Nikirk claims this type of

portfolio is important because “it can ensure students will get interviews and ultimately a

good job at the end of their formal education process” (p. 14). Nikirk’s approach to the

portfolio is focused on industry, requiring that students frequently research job postings

and tailor their portfolios accordingly.

Lopez-Fernandez and Rodriguez-Illera (2009) see digital learner portfolios as a

means for assessment purely for their educational value. In “Investigating University

Students’ Adaptation to a Digital Learner Course Portfolio,” from Computers &

Education, the authors remind that the electronic collection of artifacts aids assessment

efforts and create an efficiency that allows for faster, more meaningful, changes to

courses and programs. The authors remind us that the main role of these portfolios

(contrary to what Nikirk finds) is to “enhance learning through reflection” (p. 609).

Lopez-Fernandez and Rodgriguez-Illera point out that about half of the students in their

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study had positive feelings when moving to a digital portfolio system, “while the other

half showed negative feelings such as insecurity, confusion, and boredom” (p. 611). One

can reasonably assume that these feelings of apprehension would be less prevalent in a

program that focuses on computer technology, so the warning is heeded, but not alarming

enough to avoid this method of assessment altogether. A young discipline inhabited by

digital natives would be a great place to use digital portfolios while keeping with trends

in education and assessment. They have proved valuable in other more traditional

disciplines, but surely have the added bonus of being required by the game design

industry.

Reinforcing the role of ePortfolios in assessment specifically in “Electronic

Portfolios May Answer Calls for More Accountability (Basken, 2008) shows that

electronic portfolios are currently even more valuable in relationship to policies instituted

by the Bush administration. With new scrutiny on education, documenting learning

outcomes needed to be streamlined. Universities using ePortolios in courses have a

computerized format that allows for direct access to student work and achievement of

outcomes. Moreover, ePortfolios actually generate learning instead of just documenting

it. Basken sites Rose-Hulman’s early adoption of the technology. The school focuses on

disciplines like chemistry, civil engineering, and physics, but the ePortfolio allowed them

to add “professional skills” like leadership, teamwork, and ethics to their learning

outcomes (Basken, 2008), asking faculty members to incorporate these professional skills

into their existing courses. In the game design curriculum this exact model should work,

especially with industry guidance.

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Beyond assessment, ePortfolios have displayed value for students and employers

since their arrival. In “’E-Portfolios’ Could Give Students a New Sense of Their

Accomplishments,” Jeffrey Young (2002) gives an overview of the landscape when the

technology was first being adopted. Instead of just a resume, students could hand

employers a CD-ROM that included examples of work, a deeper look at their studies in

general, and even video testimonials from professors and employers. This is a great idea

for the job market, and now that we can take the disc out of the equation, the benefits

have a greater reach. This is of particular importance in game design, as students can

display the relevance of all their studies to the field in hopes of placing them above other

applicants who only possess the technical skills.

Mencher and Crosby (2003) write about how to break into the competitive

computer game design business. In their chapter, “Breaking Into the Games Business,”

they share a now commonplace thought: “When applying for a game job, candidates must

be able to demonstrate their skills, usually with demos” (p. 22). A text resume still has

some importance in the industry, so applicants must set themselves apart by

demonstrating their skills on demand in a portable, easily accessible format. The authors

also go a step further, instructing hopefuls to get a personal website and email address.

As websites for candidates are common today, incorporating them into the game design

program seems logical. Instead of the digital portfolio being an add-on assessment tool,

it can serve a dual purpose that all but insures honest effort and buy-in from students.

Fairly new and as such not given must weight in hiring decisions, industry-

experienced faculty need to help students present their work on the job market. In the

Ultimate Guide to Video Game Writing and Design (2007), Dille and Zuur Platten point

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out that respect for game design degrees is slowly increasing and will continue to as long

as schools take industry conventions into consideration.

Skeptical of game design programs, Kenn Hoekstra (2003) reinforces the fact that

the way into the industry is through a digital portfolio in his chapter, “Getting a Job in the

Game Industry.” He recommends that applicants bolster their digital portfolios with

modifications of existing games (mods) from the studios being applied to in order to

show their skills in relation to the aesthetics and content of the specific studio where they

are seeking employment. Hoekstra also echoes the need for original digital content,

saying that “[d]egrees […] pale in comparison on your resume to actual, finished game

code,” and that “producing your own game demo shows potential employers that you are

familiar with games and what makes them work” (pp. 32-33). This advice can only be

heeded with an online portfolio, and the industry standard is presentation through a

website.

Further supporting this view, Moore and Novak (2010) state bluntly that a

“personal website is the best way to organize and present your work” (p. 131). For

applicants looking for their first job, the authors even cite the need for presenting a

representation of the applicant’s work that shows how the he or she has grown as an

artist/programmer/designer. The reflection required for a digital learner portfolio will

articulate this change, while also demonstrating the communication skills that those in the

industry seek. The guidelines for this type of website/portfolio outlined in the text could

serve as a base for a scoring rubric. Relating students’ work to guidelines in the Game

Industry Career Guide (Moore & Novak, 2010) will go a long way with student buy-in.

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In their chapter “Program Review: a Spectrum of Perspectives and Practices,”

Black and Kline (2002) outline several approaches to evaluation. When considering

these, the goal-based approach seemed to fit best. A simple four-step process, the goal-

based approach looks as follows: “1) goals are clarified; 2) indicators of goal attainment

are defined; 3) achievement data are collected, and; 4) results are compared to pre-set

criteria” (p. 228). As many game design faculty come from the industry, laying out these

simple guidelines should clarify the process of assessment. Faculty with industry

experience will be necessary to set the indicators of goal attainment, as the profession is

currently cloistered to some extent when it comes to what a studio is seeking.

Game design faculty also need to self-assess in order to improve new curricula.

In, Assessing Student Learning: A Common Sense Guide (2009), Suskie warns that

programs should assess what students do not have a chance to learn. An efficient, agile

means of assessment via the ePortfolio allows internal assessment and self-reflection

among faculty to ensure this is not the case. Suskie also delivers some advice on building

a curriculum from scratch that adds value to the efforts of a nascent game design

program.

Driscoll and Wood (2007) offer great insights in Developing Outcomes-based

Assessment for Learner–centered Education: a Faculty Introduction. The authors remind

us that combating distrust with faculty is a major hurdle that must be overcome when

trying to perform assessment where it has not happened before. Driscoll and Wood point

out that there are “legitimate fears and reasons for resisting” that “assessment will be

used against faculty” (p. 32). The program must seek buy in from these new professors

early on, so the idea of focusing on industry standards becomes even more important.

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Theresa Ford (2010) discusses resources of this type in “Growth in Disciplinary

Resources for Assessment in the Liberal Arts.” Stated explicitly, Ford tells us that

Whether faculty are assessing an academic program, the general education

curriculum, or an interdisciplinary major, discipline-based resources address the

assessment needs of faculty in ways that generic-based resources do not, and

thereby encourage faculty ownership of, and engagement in, assessment of

student learning (p. 2).

In a new field like computer game design, this rings true. The basic goals of many

academic programs, like improved communication and critical thinking, must also be

bolstered by goals specific to this discipline like skills in design and with various kinds of

software, industry resources echo this claim.

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References

Basken, P. (2008). Electronic Portfolios May Answer Calls for More Accountability. Chronicle

Of Higher Education, 54(32), A30-A31.

Black, K. E., & Kline, K. A. (2002). Program review: a spectrum of perspectives and practices.

In T. Banta (Ed.), Building a scholarship of assessment (201-222). San Francisco, CA:

Jossey-Bass.

Dille, Flint & Platten, John. The Ultimate Guide to Video Game Writing and Design. New

York: Random House, 2007.

Driscoll, A., and Wood, S. (2007). Developing outcomes-based assessment for learner-centered

education: a faculty introduction. Sterling, VA: Stylus Publishing, LLC.

Flack, K., (2011, November). Making it in the Games Industry. Presentation at George Mason

University, Fairfax, VA.

Ford, T. (2010). Growth in Disciplinary Resources for Assessment in the Liberal Arts.

Assessment Update, 22(6), 1-15. Retrieved from EBSCOhost.

Hoekstra, K. (2003). Getting a job in the game industry. In B. Bates (Ed.), Game Developer’s

Market Guide (29-36). Boston, MA: Premier Press.

International Game Developers Association. (2008). IGDA curriculum framework: the study of

games and game development: version 3.2 beta. Retrieved from

http://www.igda.org/wiki/images/e/ee/Igda2008cf.pdf

Lopez-Fernandez, O., & Rodriguez-Illera, J. (2009). Investigating university students’ adaptation

to a digital learner course portfolio. Computers & Education, 52(3), 608-616.

doi:10.1016/j.compedu.2008.11.003

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Mencher, M., & Crosby, O. (2003). Breaking into the game business. In B. Bates (Ed.), Game

Developer’s Market Guide (15-28). Boston, MA: Premier Press.

Moore, M. E., & Novak, J. (2010). Game development essentials: Game industry career guide.

Clifton Park, NY: Delmar

Nikirk, M. (2008). Digital portfolios. Tech Directions, 68(5), 13-15.

Palomba, C. A. (2002). Scholarly assessment of student learning in the major and general

education. In T. Banta (Ed.), Building a scholarship of assessment (201-222). San

Francisco, CA: Jossey-Bass.

Penny Arcade (2012, October). Season 5. episode 3—on game schools [Video file]. Retrieved

from http://penny-arcade.com/patv/episode/on-game-schools

Pratchett, R. (2007). In C. Bateman (Ed). Game writing: Narrative skills for game designers

(189). Boston, MA: Course Technology.

Saltzman, M. (Ed). (2004). Game creation and careers: Insider secrets from industry experts

(215). San Francisco, CA: New Riders Games.

Suskie, L. (2009). Assessing student learning: a common sense guide. San Francisco, CA:

Jossey-Bass.

Swacha, J., Skrzyszewski, A., & Syslo, W. A. (2010). Computer game design classes: The

students' and professionals' perspectives. Informatics in Education, 9(2), 249-249.

Retrieved from http://search.proquest.com/docview/758660766?accountid=1454

Young, J. R. (2002). 'E-Portfolios' could give students a new sense of their accomplishments.

Chronicle Of Higher Education, 48(26), A31.

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